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Some aspects of the staging provide a legible frame: the central projection screen displaying the familiar interface of Google Translate, the director with his laptop executing the scripts and coordinating the actors who are positioned before microphones and noticeably anticipating their cues.
But the content of the performance is by contrast decidedly less legible, or differently so. It is also, importantly, not singular. Love. abz is after all about, and made possible by, machine translation, and the primary text of the play is only ever presented as input and output for Googles translational system, initially with English and Finnish, the directors two compositional languages, and then, in the performance I watched at Barnard in 2015, interspersed with German, Spanish, and Mandarin.